Lauren Fournier considers what it means, in the bell hooks sense, to bring everyday life to theory.
Like the international financial markets, the art museum is a controlling Western institution.
What makes Written Matter different from some artists’ journals is that one need not be familiar with Orozco — or even the legacy of Conceptualism to which his work is tethered — to enjoy it.
In Radical Virtuosity, Genevieve Hyacinthe brilliantly reframes Mendieta’s celebrated works, yet for a book so rooted in race, the final analysis feels only half-full.
In the recently published collection We Are in Open Circuits, Paik’s prescient critiques of image consumption suggest he probably would’ve been great at Twitter.
Her recent book offers an investigation of the irrational and the unconventional currents swirling behind the Bauhaus’s signature sleek surfaces and austere structures.
When I got to know Bill Berkson, my life as a writer was completely changed.
The art and literature in Invisible Colors turn our gaze toward the blinding fury of the atom’s explosion in its singular purpose to raze and slaughter.
Amaranth Borsuk’s The Book traces how the nature of reading changed from an activity practiced by a small number of scholars to a pastime of the masses.
This book looks at how aesthetics—understood as a more encompassing framework for human activity—might become the primary discourse for political and social engagement.
The book looks at a cultural and philosophical history of neon, from Paris in the twentieth century to the perpetually switched-on present day.
The book links the increasing visualization of waste in contemporary art to the rise of the global oil economy and the emergence of ecological thinking.